This term’s background fundamentals is on Tech We Love: and we are starting by looking at Deep Compositing. The concept is closely aligned to that of Deep Shadows the hugely influential 2000 Pixar Siggraph paper by Tom Lokovic and Eric Veach. So much so that when we came to film some elements to help explain it this week – we used as the base of the shot a set of Siggraph Conference Proceedings (Ok so that is truly geek humor).

Highly detailed animated 3D trees and plants can make a huge visual impact in digital environments and matte paintings, as seen in movies such as Avatar. Yet the complexity of trees and many plant species makes them notoriously difficult to recreate, and requires a move from traditional modeling techniques to unique procedural methods.

Level I - Introduction (17 Hours 41 Mins) - Welcome to Level I, an Introduction to The Foundry’s NUKE, made specifically for trainers. With nearly eighteen hours of material we believe this is the most comprehensive training on NUKE available. The course is kept completely up-to-date as new versions of NUKE are released, and with access to the Professor via the forums this course is a must for anyone looking to become an accredited NUKE trainer.

Level II - Intermediate (12 Hours 50 Mins Approx.) - Welcome to Level II, an intermediate course for The Foundry’s Nuke, made by trainers for trainers. With around 13 hours of material we believe this alongside Level I will equip you to teach Nuke to the highest standard. Like Level I the course is kept completely up-to-date as new versions of Nuke are released, and with access to the Professor via the forums this course is a must for anyone looking to become an accredited Nuke trainer.

This advanced course will cover the creation of not one, but a number of full 3D production quality mattes, all highly detailed and photoreal. We will be covering a lot of ground across multiple shots taken to final in our 10 classes. With the continuing rise on stereoscopic 3D in films and television, there are an increasing number of occasions when a 2D or 2.5D matte just wont cut it anymore.

This advanced course will cover the creation of not one, but a number of full 3D production quality mattes, all highly detailed and photoreal. We will be covering a lot of ground across multiple shots taken to final in our 10 classes. With the continuing rise on stereoscopic 3D in films and television, there are an increasing number of occasions when a 2D or 2.5D matte just wont cut it anymore.

Highly detailed animated 3D trees and plants can make a huge visual impact in digital environments and matte paintings, as seen in movies such as Avatar. Yet the complexity of trees and many plant species makes them notoriously difficult to recreate, and requires a move from traditional modeling techniques to unique procedural methods.

Level II - Intermediate (12 Hours 50 Mins Approx.) - Welcome to Level II, an intermediate course for The Foundry’s Nuke, made by trainers for trainers. With around 13 hours of material we believe this alongside Level I will equip you to teach Nuke to the highest standard. Like Level I the course is kept completely up-to-date as new versions of Nuke are released, and with access to the Professor via the forums this course is a must for anyone looking to become an accredited Nuke trainer.

In our ‘Introduction to KATANA’ course we cover all the main areas of KATANA for both Look Development and Lighting. Using Arnold as our main renderer, we start the course with a good overview of KATANA before jumping into a mini project in week two. From there we systematically cover all the main areas of KATANA from asset management to shader building and assignment, lighting, rendering and everything in between.

In our ‘Introduction to KATANA’ course we cover all the main areas of KATANA for both Look Development and Lighting. Using Arnold as our main renderer, we start the course with a good overview of KATANA before jumping into a mini project in week two. From there we systematically cover all the main areas of KATANA from asset management to shader building and assignment, lighting, rendering and everything in between.

In our ‘Introduction to KATANA’ course we cover all the main areas of KATANA for both Look Development and Lighting. Using Arnold as our main renderer, we start the course with a good overview of KATANA before jumping into a mini project in week two. From there we systematically cover all the main areas of KATANA from asset management to shader building and assignment, lighting, rendering and everything in between.

In our Introduction to KATANA course we cover all the main areas of KATANA for both Look Development and Lighting. Using Arnold as our main renderer, we start the course with a good overview of KATANA before jumping into a mini project in week two. From there we systematically cover all the main areas of KATANA from asset management to shader building and assignment, lighting, rendering and everything in between.

In our ‘Introduction to KATANA’ course we cover all the main areas of KATANA for both Look Development and Lighting. Using Arnold as our main renderer, we start the course with a good overview of KATANA before jumping into a mini project in week two. From there we systematically cover all the main areas of KATANA from asset management to shader building and assignment, lighting, rendering and everything in between.